The study's purpose was to describe selected laryngeal activity of brass-wind players during the performance of selected musical exercises. Research problems included the observation and description of three internal areas of activity of ten trumpeters as they performed each exercise. Specific areas of observation were 1) movement of the epiglottis during the performance of each exercise, 2) movement of the vocal folds/arytenoid cartilage which includes changes in the size of the glottis during the performance of each prescribed exercise, and 3) movement of the thyroid cartilage during the performance of each prescribed exercise. Musical exercises performed by each of the subjects included a sound volume change, use of vibrato, single-tonguing, step-wise descending and ascending slurs, descending and ascending lip slurs, register change, and a descending chromatic scale. In addition, each subject performed an excerpt from the second movement of the Haydn Trumpet Concerto. Data were collected through direct observation of subject performances and then described using three different means. Data analyses revealed a prominent amount of highly individual, non-patterned laryngeal activity which played an integral role in the performance of each subject. Individuals including Law (1960), Cramer (1955), Jacobs (Stewart, 1987), and Noble (1964) have advocated an unrestricted airway during brass performance. Contrary to this advice, findings in the present study indicate that a great deal of varying, involuntary restriction is present in the laryngeal area during performance. Further, such activity appears necessary to brass performance. Others, including Farkas (1962), Schuller (1962), and Wick (1971) , have endorsed conscious use of the glottis during brass performance. While findings in the present study imply that there is a presence of voluntary or reflexive glottal activity during brass performance, evidence does not support any theory which suggests conscious use of the laryngeal mechanism.

El presente trabajo plantea una propuesta de mejora del proceso de planeamiento y control de la producción en una empresa metalúrgica fabricante de aleaciones del cobre, zinc y plomo, mediante la implementación del modelo de programación lineal, que permitirá reducir los niveles de stock de productos. Asimismo, formula la mejora en la exactitud del registro del inventario de los materiales, mediante la aplicación del inventario físico mensual y el conteo físico aleatorio permanente. Se detectó el problema de incoherencia entre stock físico y teórico de los materiales, cuyas causas principales son el software con limitaciones, desorden y la no buena señalización de la ubicación de los materiales en el almacén, la frecuencia del inventario físico y carencia de conteo físico aleatorio. Se detectó un nivel elevado de merma en el proceso productivo, por uso de chatarra contaminada y de utillajes desgastados. El elevado nivel de stock de productos, se debe al método de programación vigente. Se prevé un incremento del 93.6% al 97% en el nivel de exactitud del registro del inventario. El nivel del stock de los productos, se reducirá de un período de cobertura de 1.1 y 1.7 meses a 0.7 y 0.9 meses respectivamente para los dos productos. La inversión requerida para la implementación de las mejoras es de US$ 13,885, que permitirá un beneficio neto a valor presente de 4,369 US$/mes, posibilitando que la empresa recupere dicha inversión en 3 meses aproximadamente. / The present work proposes a proposal for improvement of the process of planning and production control in a metallurgical company that produces copper, zinc and lead alloys, through the implementation of the linear programming model, which will allow reducing the stock levels of products. Likewise, it formulates the improvement in the accuracy of the inventory register of the materials, through the application of the monthly physical inventory and the permanent random physical count. The problem of inconsistency between physical and theoretical stock of materials was detected, whose main causes are software with limitations, disorder and without good signage of the location of the materials in the warehouse, the frequency of the physical inventory and lack of random physical counting. A high level of depletion was detected in the productive process, due to the use of contaminated scrap metal and broken tools. The high level of stock of products is due to the current programming method. An increase of 93.6% to 97% is expected in the level of accuracy of the inventory record. The level of the stock of products, would be reduced from a coverage period of 1.1 and 1.7 months to 0.7 and 0.9 months respectively for the two products. The investment required for the implementation of the improvements is US $ 13,885, which will allow a net benefit at present value of 4,369 US $ / month, enabling the company to recover this investment in approximately 3 months. / Trabajo de investigación

Este trabalho apresenta um estudo sobre o processo de Estampagem Incremental de Chapas, em Latão C-268 de diferentes espessuras (s0: 0.50, 0.70 e 1.00 mm), motivado pela inobservância de pesquisas desta matéria prima neste processo de conformação de chapas. Atualmente, este material tem grande aplicação na confecção de utensílios domésticos (baixelas, travessas, etc) e ferragens para construção civil (espelhos, cubas, etc), instrumentos musicais de sopro e núcleos de radiadores automotivos, tendo assim, um amplo campo de aplicação industrial, e potencial para as aplicações do processo de Estampagem Incremental de Chapas. A pesquisa está pautada na caracterização das matérias primas, para a obtenção de dados como as Curvas de Escoamento, Índices de Anisotropia (r), Curvas Limite de Conformação (CLC) e em experimentos de Estampagem Incremental de Chapas, realizados em uma máquina dedicada a este processo de conformação. Para a realização dos experimentos, foram utilizados Incrementos Verticais com diferentes valores (∆Z: 0.10, 0.50 e 1.00 mm), assim como duas ferramentas de estampagem (DT: Ø10 e Ø15 mm). Foram aplicadas duas formas geométricas diferentes: Tronco de Cone e Tronco de Pirâmide, ambos com perfil radial das paredes verticais. Ao todo, foram realizados 15 experimentos diferentes na modalidade SPIF. Os experimentos foram realizados em uma máquina dedicada ao processo, capaz da aquisição dos valores de Força (FX, FY e FZ) durante a realização dos testes. Com a realização dos experimentos SPIF, foi possível a elaboração da Linha Limite de Fratura – LFC da chapa latão C-268 nas três espessuras investigadas, onde os resultados apontam para valores maiores de deformação verdadeira (1 vs 2), quando comparados aos valores da CLC. Adicionalmente, a LFC das três espessuras de chapas analisadas, apontam os valores das maiores deformações verdadeiras (1) muito próximos, evidenciando neste caso que a diminuição do Incremento Vertical (∆Z) é mais relevante para a estampagem do que o aumento da espessura da chapa. As geometrias Tronco de Cone e Tronco de Pirâmide apresentaram discrepâncias geométricas toleráveis em relação ao perfil projetado, mas diferentes entre si, influenciados pelo retorno elástico diferente de cada geometria. Entretanto, suas fraturas apresentaram o mesmo comportamento, propagação no sentido meridional. Os experimentos SPIF realizados com a ferramenta de estampagem com Ø10mm proporcionaram as maiores profundidades. A medição da espessura final (s1) próximas as regiões fraturadas, comprovou os valores medidos não ultrapassaram os respectivos valores resultantes da expressão matemática Lei do Seno, e ainda, que quanto menor a espessura inicial (s0) da chapa, menor a variação dos valores medidos e calculados. A análise das Forças (FX, FY e FZ) resultantes do processo SPIF mostram que quanto maior o Incremento Vertical (∆Z), maior a espessura inicial (s0) da chapa, e maior do diâmetro (DT) da ferramenta de estampagem, maiores serão as Forças necessárias no SPIF. Adicionalmente, foi possível determinar os valores de Atrito (µ), obtidos em função das Forças (FX, FY e FZ) do processo SPIF. / This paper presents a study of the Incremental Sheet Forming process, in Brass C-268 of different thicknesses (s0: 0.50, 0.70 and 1.00 mm), motivated by non-observance of research of this raw material in this sheet forming process. Currently, this material has great application in the manufacture of household items (plates, platters, etc.) and hardware for building (locks, vats, etc.), wind musical instruments and automotive radiator cores, having thus, a large industrial application field, and potential for the applications of the Incremental Sheet Forming process. The research is based on the characterization of raw materials, to obtain data such as Flow Curves, Anisotropy Indices (r), Forming Limit Curve and in Incremental Sheet Forming experiments, performed on a machine dedicated to this forming process. For the realization of the experiments, Vertical Increments with different values were used (∆Z: 0.10, 0.50 e 1.00 mm), As well as two forming tools (DT: Ø10 e Ø15 mm). Two different geometric forms were applied: Cone Frustum and Pyramid Frustum, both with radial profile of vertical walls. In all, 15 different SPIF experiments were performed. The experiments were carried out in a machine dedicated to the process, able to acquire the values of Force (FX, FY e FZ) during the tests. With the realization of SPIF experiments, it was possible to elaborate the Fracture Forming Line – FFL of Brass C-268 sheet, In the three thicknesses investigated, Where the results indicate higher values of true strain (1 vs 2), when compared to the FLC values. Additionally, the FFL of the three sheet thicknesses analyzed, indicate the values of the highest true deformations (1) very close, evidencing in this case, that the decrease of Vertical Increment (∆Z) is more relevant for the forming than the increase in sheet thickness. The Cone Frustum and Pyramid Frustum geometries presented tolerable geometric discrepancies in relation to the projected profile, more different from each other, influenced by different springback of each geometry. However, their fractures presented the same behavior, meridional direction propagation. The SPIF experiments performed with the forming tool with Ø10mm provided the greatest depths. The final thickness (s1) measurement near the fractured regions, proved the measured values did not exceed the respective values resulting from the mathematical expression Sine Law, and also, that the lower the initial thickness (s0) of sheet, lower the variation of the measured and calculated values. Analysis of Forces (FX, FY e FZ) resulting from the SPIF process, show that the larger the Vertical Increment (∆Z), larger the initial thickness (s0) of the sheet, and larger diameter (DT) of the forming tool, larger will be the necessary forces in SPIF. In addition, it was possible to determine the values of Friction (µ), obtained in function of the SPIF Forces (FX, FY e FZ).

The geometrical characteristics of acoustical radiation are of great importance in instrument design and synthesis, and multiple simplified models have been developed in the past to describe them. In this work two experimental methodologies are proposed and carried out, studying the frequency-dependent radiation in a collection of popular brass instruments with different grades of flaring, and making use of the axis-symmetry of these instruments. The first method uses a scanning linear array and is carefully designed to extract the linear properties of the radiation field. The results of this experimental method are a database of impulse responses distributed in space, and effectively covering a bidimensional on-axis section of the radiation field approximately 0.6 m by 0.9 m. These data can then be used for the validation of a number of simplified physical models used to describe the radiation of these types of instruments. The second method aims at visualising radiation for high amplitude excitation, where shock waves are generated inside the instrument due to non-linear propagation of the plane wave. In this case, the experimental methodology used, taking advantage of the strong density and temperature gradients generated in the air, is an on-axis schlieren optical system. General results of this visualisation show a strong increase in focused directivity at high frequencies and loud playing dynamics, due to the spectral enrichment typical of this family of instruments. The second section of this thesis focuses on the study of playing gestures in the trombone, and could also be applicable to other slide instruments. During glissando playing in the trombone the length of the cylindrical slide section within the bore is altered while waves are propagating. Slide velocities of 2 metres per second are not unusual and result in a (small but measurable) Doppler shift in the wave coming from the mouthpiece before it arrives at the bell. An additional effect is observed in terms of the volume of air within the instrument changing telescopically, leading to a localised change in DC pressure and a resulting flow, which generates infrasound components within the bore. The effects of these playing gestures are investigated in two different setups; one with a high frequency sinusoidal excitation generated by a compression driver, and another one using an artificial mouth to play the instrument. In both experiments the pressures at the mouth or mouthpiece, water key and bell were tracked using microphones and the position of the slide was tracked using a laser distance sensor. Both Doppler shifting and infrasound components were detected for both experimental setups, although the effect on a soft termination such as the artificial lips requires further examination.

The original focus of this research paper was to ask the question, “Why are there so few versatile trombonists?” The research suggested that there were curriculum problems in higher education associated with the general lack of performance versatility amongst trombonists. In 2014 the Task Force for the Undergraduate Music Major (TFUMM) determined that the undergraduate curriculum was lacking improvisation and creativity. One of the core musical skills that is essential in improvising is audiation. After determining that audiation is one of the keys to performance versatility, I researched jazz pedagogy and how this area of higher education includes and utilizes audiation and improvisation in curriculum. I concluded that traditional conservatory-style pedagogy is lacking improvisation and audiation in its curriculum because of the bias towards the European music tradition and the institutional treatment of jazz as a legitimate art form that is not equal to the European music tradition.To address the issue of performance versatility amongst trombonists, I created the “Modern Trombonist Curriculum” in 2016. This was my first attempt to address undergraduate curriculum by exposing students to a three-studio model, literature versatility, and utilizing audiation as the foundation of their learning. I sent out this curriculum to ten educators and performers for critique and to provide their thoughts on the current landscape of performance versatility, audiation, and my curriculum. After the interviews and the insight of my dissertation committee, I created a new curriculum titled “The Versatile Trombonist” to address the constraints of time, colleague involvement, student engagement, mental health, fiscal concerns, and other issues that I did not originally consider. Although I plan to continually modify and adjust this curriculum, this current version can be used as a benchmark for future educators that desire to include audiation and performance versatility in their current or future trombone studios.

For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

<p>I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter.</p> / <p>In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.</p>

<p>Uppsatsen behandlar genomförandet av det så kallade storprojektet, som under våren 2009 ledde fram till föreställningen ”Jorden Runt”. I studien (där jag fungerat som deltagande observatör) presenteras bakgrunden till projektet från start, samt en undersökning rörande i vilken utsträckning sex brasselever (på instrumenten kornett, valthorn och baryton) upplevt arbetet med ”Jorden Runt”, deras förväntningar inför projektet samt om de har några förslag inför kommande storprojekt. Undersökningen visar att eleverna inte tycker att de fått bestämma särskilt mycket i arbetet med föreställningen, men är trots detta ganska nöjda - endast en elev skulle ha velat påverka föreställningen ytterligare. Vid en jämförelse mellan elevinflytandet i storprojektet och i grundskolan framkommer olika synpunkter. Några elever tycker att de fått bestämma mer under storprojektet, medan andra tycker att de fått vara med och bestämma mer i grundskolan.</p> / <p>The essay discusses the implementation of the so called major project which took place during the spring of 2009 and generated in the show “Around the World”.The study (in which I’ve functioned as a participating observer) contains background information of the project and a study concerning how six brass students (playing the instruments cornet, French horn and baritone) have experienced the work of “Around the World”, their expectations before the project and whether they have any suggestions for the future major projects.The students do not experience a high level of their own participation but are yet fairly satisfied - only one student requests more influence. A comparison between the major project and the compulsory school shows that the students have different experiences. Some students think that they were allowed to decide more during the major project while other students felt that they were allowed to decide more in compulsory school</p>

I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter. / In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.

Uppsatsen behandlar genomförandet av det så kallade storprojektet, som under våren 2009 ledde fram till föreställningen ”Jorden Runt”. I studien (där jag fungerat som deltagande observatör) presenteras bakgrunden till projektet från start, samt en undersökning rörande i vilken utsträckning sex brasselever (på instrumenten kornett, valthorn och baryton) upplevt arbetet med ”Jorden Runt”, deras förväntningar inför projektet samt om de har några förslag inför kommande storprojekt. Undersökningen visar att eleverna inte tycker att de fått bestämma särskilt mycket i arbetet med föreställningen, men är trots detta ganska nöjda - endast en elev skulle ha velat påverka föreställningen ytterligare. Vid en jämförelse mellan elevinflytandet i storprojektet och i grundskolan framkommer olika synpunkter. Några elever tycker att de fått bestämma mer under storprojektet, medan andra tycker att de fått vara med och bestämma mer i grundskolan. / The essay discusses the implementation of the so called major project which took place during the spring of 2009 and generated in the show “Around the World”.The study (in which I’ve functioned as a participating observer) contains background information of the project and a study concerning how six brass students (playing the instruments cornet, French horn and baritone) have experienced the work of “Around the World”, their expectations before the project and whether they have any suggestions for the future major projects.The students do not experience a high level of their own participation but are yet fairly satisfied - only one student requests more influence. A comparison between the major project and the compulsory school shows that the students have different experiences. Some students think that they were allowed to decide more during the major project while other students felt that they were allowed to decide more in compulsory school